For all it’s a cliché, life does sometimes imitate art, even down to the inconveniences. So it happens that Scottish Opera’s production of Flight, Jonathan Dove’s 1998 opera set in an airport experiencing delays and cancellations due to extreme weather, itself fell victim to extreme weather. The first of two performances in Edinburgh was cancelled, as central Scotland was covered by a red snow alert and advice not to travel. The second performance went ahead, conducted by Stuart Stratford, but with piano accompaniment instead of orchestra.

All this adds piquancy to the Controller’s announcement at the end of Act 1 that flights will be disrupted because of the weather. Jennifer France sang the part delightfully, her crystal-clear voice soaring above the others and the accompaniment as she herself stood above them in her eyrie, or in the screen-filled room behind.

Below, James Laing is the Refugee, living between states in the airport, waiting for his brother, who has their papers. Laing’s voice has a rich quality not always heard in a countertenor, and consummate control – in his Act 1 aria, where each line ends on an uptick, the last couple of notes float off into the ether.

The scene is set in a departure lounge – the date of the opera is relevant; why else is the Older Woman (Marie McLaughlin), awaiting her Spanish fiancé, there with passengers awaiting departure? My, how time flies; they didn’t have the same security barriers last century. Andrew Riley’s set is a semi-circular glass tunnel-shape. The flirting Steward and Stewardess (Jonathan McGovern and Sioned Gwen Davies) in their smart blue uniforms double as Cabin Crew and Ground Staff.  They dole out hot flannels and drinks to the stranded passengers from an aircraft trolley  - a nice, if spurious, touch.

Victoria Simmonds the heavily-pregnant Minskwoman, who refuses to board the flight with her diplomat husband (Stephen Gadd), gives birth (musically) after the storm has passed and her husband has come off the return flight to join her – the Steward and Stewardess snapping on vinyl gloves from the trolley, to assist.

Bill (Peter Auty) and Tina (Stephanie Corley in tight, sweetie-pink ankle-grazing trousers teamed with matching pink and black tote containing their Lucky Donkey) are trying to re-kindle their relationship with a holiday. When Tina said she wanted Bill to be adventurous again, she did not mean smoking joints and having a fling with the Steward.

The singing is excellent. The ensembles are (mostly) enormous fun as well as musical – the exception when the women get tipsy and, eventually, turn on the Refugee. They spurn him, but, on hearing his tale, prevail on the Immigration Officer (Dingle Yandell) to turn a blind eye and let him stay.

Richard Howell’s lighting and Jack Henry James’ projection create a convincingly claustrophobic atmosphere during the storm. The crowds of passengers – too many to name – in all shapes and sizes, who flood the stage periodically as flights depart and arrive, add to the verisimilitude.

The outstanding performance of the evening was, however, from pianist Jonathan Swinard, who played throughout.